An illustrated examination of Beverly Buchanan's 1981 environmental sculpture, which exists in an ongoing state of ruination.
Beverly Buchanan's Marsh Ruins (1981) are large, solid mounds of cement and shell-based tabby concrete, yet their presence has always been elusive. Hiding in the tall grasses and brackish waters of the Marshes of Glynn, on the southeast coast of Georgia, the Marsh Ruins merge with their surroundings as they enact a curious and delicate tension between destruction and endurance. This volume offers an illustrated examination of Buchanan's environmental sculpture, which exists in an ongoing state of ruination.
Amelia Groom is an art historian and a postdoctoral Fellow at ICI Berlin Cultural Institute. Her writing on art has been published e-flux journal, Frieze, Art Agenda, and other publications. She edited Time, a volume in the Documents of Contemporary Art series (Whitechapel Gallery/MIT Press).
An illustrated examination of Beverly Buchanan's 1981 environmental sculpture, which exists in an ongoing state of ruination.
Beverly Buchanan's Marsh Ruins (1981) are large, solid mounds of cement and shell-based tabby concrete, yet their presence has always been elusive. Hiding in the tall grasses and brackish waters of the Marshes of Glynn, on the southeast coast of Georgia, the Marsh Ruins merge with their surroundings as they enact a curious and delicate tension between destruction and endurance. This volume offers an illustrated examination of Buchanan's environmental sculpture, which exists in an ongoing state of ruination.
Author
Amelia Groom is an art historian and a postdoctoral Fellow at ICI Berlin Cultural Institute. Her writing on art has been published e-flux journal, Frieze, Art Agenda, and other publications. She edited Time, a volume in the Documents of Contemporary Art series (Whitechapel Gallery/MIT Press).
